Conclusion
It’s early days yet for HDV. But, in large part because of the Sony FX1, the format has hit like a bullet, even in the UK where, like Europe generally, HD broadcasting is virtually non-existent, and where high-resolution TV sets are expensive and far from commonplace.In Europe, output and distribution is a major issue. HD is being broadcast by only one (obscure) channel - HD1, formerly known as Euro1080 – and, while Sky is planning to provide some HD channels in 2006, there’s no definite launch date. TV sets compatible with HD are becoming available, but it’s not necessarily clear from the spec whether a set is compatible, and prices can be high – typically over £1,000, but they can be three or more times greater for large-screen plasma sets.
However, Matteo Ricchetti made us aware that it is possible to use some standard CRT computer monitors to watch HDV – and CRT monitor prices have fallen though the floor as LCD monitors have gained favour.
In some cases, all that is required is an external adaptor and these are available for under £50 (and half that in the USA), though not all monitors can work at HDV resolution and some that can are unable to work at 50Hz as would be required in Europe. This is yet another thing we are trying to investigate properly, and we plan to report back soon.
Computers themselves also offer an option for distribution of HDV source material and this may appeal to corporate videomakers wishing to create a splash. DivX and Windows’ WMV both support HD formats, so these are potential options for distributing HDV footage for computer consumption. However, the hardware requirements for skip-free HD playback are relatively high, a 3GHz processor being recommended, so this isn’t a mass-market option yet.
Software support is developing fast – though everything out there seems a step backwards compared to the real-time editing performance we started to expect from DV. So, just as we were getting used to blending multiple streams of DV with all manner of effects, HDV’s greatly increased stress on the hardware means only a couple of tracks can be mixed even on a fast system. But this will improve as computers continue to speed up.
Sony’s HDR-FX1E is a true statement of intent. It’s only £500 more expensive than the company’s DCR-VX2100 and anyone currently considering that model should seriously consider ways of finding the extra money for the FX1E. The FX1E is just as good at shooting DV as the VX2100, so only a small premium is being paid for its HDV capabilities. Sony also has a professional version of the FX1E on the horizon, the HVR-Z1U. Unlike the FX1, there won’t be different versions for Pal and NTSC. Instead, one model will support the 25fps and 30fps timebases, along with 24fps via the CineFrame mode. The Z1 could be to the Sony PD170 what the FX1E is to the VX2100 – a killer. We’ll bring you a full review of that camcorder when it arrives in the UK.
Most of all, though, HDV and other high-definition recording formats will change the way video is made. Instead of being forced to rely primarily on close-ups by the resolution of the format, video has taken a huge leap in the direction of film. This can only reduce the gap between the worlds of film and TV. HDV is the most exciting thing to happen to digital video since DV arrived a decade ago – pioneered by Sony’s VX1000 camcorder - and we can’t wait to see how it develops as a result of Sony’s latest innovations.
James Morris and Bob Crabtree